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Slang in American and British Hip-Hop/Rap Song Lyrics
LEXICON Volume 5, Number 1, April 2018, 84-94 Slang in American and British Hip-Hop/Rap Song Lyrics Tessa Zelyana Hidayat*, Rio Rini Diah Moehkardi Universitas Gadjah Mada, Indonesia *Email: [email protected] ABSTRACT This research examines semantic changes and also the associative patterns of slang, focusing primarily on common topics, i.e., people and drugs. The data were slang terms taken from the lyrics of hip-hop/rap songs sung by four singers, two from the U.S.A and two from the U.K. A total of 105 slang terms were found, 45 of which belong to the people category and 16 to the drugs category in the American hip-hop/rap song lyrics, and in the British hip-hop/rap song lyrics, 26 of which belong to the people category and 18 to the drugs category. Bitch and nigga were found to be the most frequently used slang terms in the people category. In terms of semantic changes, broadening, amelioration, and narrowing were found, and in terms of associative patterns, effect, appearance, way of consuming, constituent, and container associative patterns were found. In addition, a new associative pattern was found, i.e., place of origin. Keywords: associative patterns, people and drugs slang, semantic change, slang. mislead people outside their group. Then, the INTRODUCTION usage of Cant began to slowly develop. Larger “This party is just unreal!” Imagine a person groups started to talk Cant in their daily life. It saying this sentence in the biggest New Year’s Eve was even used for entertainment purposes, such as party in his/her town, with the largest crowd, the in literature. -
1. Summer Rain by Carl Thomas 2. Kiss Kiss by Chris Brown Feat T Pain 3
1. Summer Rain By Carl Thomas 2. Kiss Kiss By Chris Brown feat T Pain 3. You Know What's Up By Donell Jones 4. I Believe By Fantasia By Rhythm and Blues 5. Pyramids (Explicit) By Frank Ocean 6. Under The Sea By The Little Mermaid 7. Do What It Do By Jamie Foxx 8. Slow Jamz By Twista feat. Kanye West And Jamie Foxx 9. Calling All Hearts By DJ Cassidy Feat. Robin Thicke & Jessie J 10. I'd Really Love To See You Tonight By England Dan & John Ford Coley 11. I Wanna Be Loved By Eric Benet 12. Where Does The Love Go By Eric Benet with Yvonne Catterfeld 13. Freek'n You By Jodeci By Rhythm and Blues 14. If You Think You're Lonely Now By K-Ci Hailey Of Jodeci 15. All The Things (Your Man Don't Do) By Joe 16. All Or Nothing By JOE By Rhythm and Blues 17. Do It Like A Dude By Jessie J 18. Make You Sweat By Keith Sweat 19. Forever, For Always, For Love By Luther Vandros 20. The Glow Of Love By Luther Vandross 21. Nobody But You By Mary J. Blige 22. I'm Going Down By Mary J Blige 23. I Like By Montell Jordan Feat. Slick Rick 24. If You Don't Know Me By Now By Patti LaBelle 25. There's A Winner In You By Patti LaBelle 26. When A Woman's Fed Up By R. Kelly 27. I Like By Shanice 28. Hot Sugar - Tamar Braxton - Rhythm and Blues3005 (clean) by Childish Gambino 29. -
Grime + Gentrification
GRIME + GENTRIFICATION In London the streets have a voice, multiple actually, afro beats, drill, Lily Allen, the sounds of the city are just as diverse but unapologetically London as the people who live here, but my sound runs at 140 bpm. When I close my eyes and imagine London I see tower blocks, the concrete isn’t harsh, it’s warm from the sun bouncing off it, almost comforting, council estates are a community, I hear grime, it’s not the prettiest of sounds but when you’ve been raised on it, it’s home. “Grime is not garage Grime is not jungle Grime is not hip-hop and Grime is not ragga. Grime is a mix between all of these with strong, hard hitting lyrics. It's the inner city music scene of London. And is also a lot to do with representing the place you live or have grown up in.” - Olly Thakes, Urban Dictionary Or at least that’s what Urban Dictionary user Olly Thake had to say on the matter back in 2006, and honestly, I couldn’t have put it better myself. Although I personally trust a geezer off of Urban Dictionary more than an out of touch journalist or Good Morning Britain to define what grime is, I understand that Urban Dictionary may not be the most reliable source due to its liberal attitude to users uploading their own definitions with very little screening and that Mr Thake’s definition may also leave you with more questions than answers about what grime actually is and how it came to be. -
Foregrounding Female Agency in the Dance Culture of Nigeria
WHAT I DO WHEN I DANCE: FOREGROUNDING FEMALE AGENCY IN THE DANCE CULTURE OF NIGERIA Oladoyin Abiona A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2021 Committee: Angela Nelson, Advisor Jeremy Wallach Rahdika Gajjala © 2021 Oladoyin Abiona All Rights Reserved iii ABSTRACT Angela Nelson, Advisor Scholarship on female representations in hip hop has been predominantly premised on the sexualization of the female body. By focusing mainly on this singular aspect of the genre, we reduce the whole essence of womanhood in the industry to such interpretations. The limited scope of such discussions deprives the women of opportunities to tell their own stories of what they do when they dance. Seeing the cultural significance of dance as a form of popular culture in the Nigerian context, this essay, from a feminist perspective, closes this gap by engaging in a qualitative exploration of the lives of three female dancers in Nigeria telling their stories through dance. They are Kaffayat Oluwatoyin Shafau (Kaffy), Odumewu Debbie (Debbiepinkie), and Usiwo Orezinena Jane (Janemena). Exploring their social media archives, interviews granted to TV stations and a published autobiography “Alajoota” by Kaffy, this essay contextualizes and complicates the interpretations of sexualization in the Nigerian hip hop dance industry. Through dance Nigerian women performers are able to negotiate the heavily male-dominated hip hop scene. For them, dance is a coping strategy, a profession, a space for redefining self and embracing sexuality and femininity, and a form of youthful identity and inclusion. -
MOBO Performers PR
**Embargoed until 00.01 Wednesday September 24, 2008** MOBO AWARDS LINE UP SUPERSTARS ESTELLE AND JOHN LEGEND CONFIRM MOBO PERFORMANCES SUGABABES TEAM UP WITH TAIO CRUZ FOR UNIQUE COLLABORATION Stars from the US and UK will line-up up to play the prestigious MOBO Awards at Wembley Arena on Wednesday October 15 th . British superstar Estelle is determined to steal the show and looks set to shine on the night after receiving 5 nominations for this year’s Awards. The Londoner has achieved huge acclaim on both sides of the Atlantic with her album Shine this year. She will take her place in a line up that also includes her American mentor, label manager and fellow megastar John Legend , who was introduced to Estelle by mutual friend Kanye West. Legend signed the British singer to his Hometown Records label and launched her into the musical stratosphere. For Legend, it is doubly satisfying for Estelle to be the hot favourite on the night, “I am so excited to be able to perform at MOBO and showcase some songs from my new album,” says Legend, “I am so happy that Estelle is nominated 5 times too! She is a huge talent and it has been great to be part of her story.” Legend’s own eagerly awaited new album, Evolver , is released in October and features Estelle, Kanye West and Andre 3000. Bridging the Atlantic is Londoner Taio Cruz , a player in the US music scene where he has written for Usher, Mya and Britney Spears and had his own career mentored by Dallas Austin. -
Shortlist Booklet
sponsored by uk music video awards 19 the uk music video awards accepts entries from all around the globe for its annual awards competition. this year more than 1800 films were submitted for judging across a range of musical genres and crafts, and once again demonstrated the strength of creativity, experimentation and artistry alive in music filmmaking. the shortlisted work and people shown in this booklet have been judged to be the best in their categories – no small feat, given the strength of this year’s submissions. congratulations to everyone involved. judging for the awards started in august when 350 jury members were invited to vote in round 1. in round 2, the top-voted entries were reviewed by over 100 industry professionals in a series of live judging panels. jury members were also invited to vote for the individual awards for director, new director, producer, commissioner, artist and for the best production company award, based on a body of work from the past year. as ever, we are grateful for the participation of our jury members. It is thanks to them that the uk music video awards is a respected and valued competition. special thanks go to our friends at the mill and at the bfi for hosting judging sessions, and to 2018’s outstanding achievement winner carrie sutton, cut+run’s toby abbott, wpa’s barnaby laws and the mill’s charlie morris who chaired panels, as well as our editorial director, david knight. and so onwards to the awards night. the uk music video awards show will take place at london’s roundhouse on wednesday 23 october, when we will be presenting more than 30 awards for achievement in music video and music film. -
Skepta Are You Ready?
Are You Ready? Skepta Welll, Yeahh... Always Ready The black Nigerian's way to heavy Every time I open my mouth blud I say a lyric and another MC gets buried Yeah 6 feet under Leave a whole in your jumper When the big skeng rings out like a private number Ring Ring talk to answer machine Yo Frisco pass the machine I just wanna do my part for the scene I'm a big man but they wanna see me act like I'm 15 Na fam it's a big man ting so please stop watching the whip man's in I don't wanna be no funky house DJ But they got me on a wig man ting You can't threaten me with no badman talk I'm not scared sorry man You can't threaten me with no badman talk I'm not scared sorry man You can't threaten me with no badman talk I'm not scared sorry man You can't threaten me with no badman talk I'm not scared sorry man I seen so much now I don't give a monkeys Swing from tree to tree just like monkeys So man wanna war me Record me Lights camera action Who produces anthem after anthem (Me) Skepta the microphone champion Some people can't see you will never win a lyrical war with me So I'm gonna call this one lord of the mics part 3 And murder another 25 MC's So dig me a larger grave Spray my ting like aftershave It's gonna be a par today When your heart beat stops and you pass away Trust me it's all easy to me I'm champagne your lambrini to me Dunno why your talking greezy to me When I'm Rodney Price your Beeny to me They wanna run it up But like armour said It's nothing leave them Bare skeng talk I can't believe them Red and white r6 I'll leave them Ed Hardy glasses I can't see them So why you talking like you can't die One bullet in each lung breath then See your sounding weezy And I heard your CD You and your mandem are talking greezy I just tell a man like D-E-E Come On Come On Do you really think if I give 2 shits if your greezy I don't think so You man ain't seen greezy yet All my mandem pop it off Your man will fly off into the sky like easyjet [Chorus] Tištěno z pisnicky-akordy.cz Sponzor: www.srovnavac.cz - vyberte si pojištění online! Powered by TCPDF (www.tcpdf.org). -
Policing the Beats: the Criminalisation of UK Drill and Grime Music by The
SOR0010.1177/0038026119842480The Sociological ReviewFatsis 842480research-article2019 The Sociological Article Review The Sociological Review 2019, Vol. 67(6) 1300 –1316 Policing the beats: The © The Author(s) 2019 Article reuse guidelines: criminalisation of UK drill and sagepub.com/journals-permissions DOI:https://doi.org/10.1177/0038026119842480 10.1177/0038026119842480 grime music by the London journals.sagepub.com/home/sor Metropolitan Police Lambros Fatsis School of Economic, Social and Political Sciences, The University of Southampton, UK Abstract As debates on the rise of violent crime in London unfold, UK drill music is routinely accused of encouraging criminal behaviour among young Black Britons from deprived areas of the capital. Following a series of bans against drill music videos and the imposition of Criminal Behaviour Orders and gang injunctions against drill artists, discussions on the defensibility of such measures call for urgent, yet hitherto absent, sociological reflections on a topical issue. This article attempts to fill this gap, by demonstrating how UK drill and earlier Black music genres, like grime, have been criminalised and policed in ways that question the legitimacy of and reveal the discriminatory nature of policing young Black people by the London Metropolitan Police as the coercive arm of the British state. Drawing on the concept of racial neoliberalism, the policing of drill will be approached theoretically as an expression of the discriminatory politics that neoliberal economics facilitates in order to exclude those who the state deems undesirable or undeserving of its protection. Keywords drill music, grime, policing of Black music subcultures, police racism, race and crime, racial neoliberalism In an atmosphere of rolling news stories about the ‘knife-crime epidemic’ that sweeps the UK’s capital (Channel 4 News, 2018; Lyness & Powell, 2018), drill music has emerged as the ‘soundtrack to London’s murders’ (Knight, 2018) and even blamed for ‘London’s wave of violent crime’ (Beaumont-Thomas, 2018). -
The Rise of Geofilters Coverfeature
06–07 Tools NY:LON Connect 08-09 Campaigns Gorillaz, Ed Sheeran, Kygo, Skepta 10-14 Behind The Campaign Little Mix JANUARY 18 2017 sandboxMUSIC MARKETING FOR THE DIGITAL ERA ISSUE 171 THE RISE OF GEOFILTERS COVERFEATURE THE RISE OF AROUND THE WORLD GEOFILTERS When we spoke to marketing teams at the end of last year, we asked them to pick the one tool that really came into its own for them in 2016. Many named geofilters – particularly those on Snapchat – as the standout tool of the year. So we decided to speak to them in terms of both how and why they are using them. Cost and accessibility are big factors as acts of any size can use Geofilters without breaking the bank. Deploying them around concerts seems to be the current trend for most, although everyone is keen to find a variety of use cases for them. Fans clearly like them, but those not totally sold on the idea say their success and value is often implied rather than measurable. That said, they will only become more commonplace this year and the hype around them will only get louder. n 2017, location, location, location is not level; but new location-based filters in Foremost among these new tools are that can be submitted to Snapchat for local just your estate agent’s most wearying digital tools are allowing them to take this Snapchat Geofilters, a special overlay for landmarks and public places; and On- Iadvice; it is also a mantra for digital to ever-more granular levels, right down your Snaps that can only be accessed in Demand Geofilters, which businesses can music marketers. -
Skepta Album Download Free Ignorence Skepta: Ignorance Is Bliss Review – Fatherhood and Ear-Candy Beats
skepta album download free ignorence Skepta: Ignorance Is Bliss review – fatherhood and ear-candy beats. G rime is a particularly complicated genre in which to mature, not least for an MC whose gravelly delivery and fierce intelligence have long given him the aura of an elder statesman. Having won the Mercury prize with his last full-length, 2016’s Konnichiwa , and crossed over to US hip-hop audiences, the bar for Skepta’s long-awaited fifth album is set high. Ignorance Is Bliss handles the MC’s next steps with authority and, crucially, popping production. “Yeah, we did young and stupid,” the north London MC declares, “Now I do grown and sexy.” Fatherhood is addressed with matter-of-fact swagger and a buggy that co-stars in the video for this album’s fiery lead track, Bullet from a Gun. There are flute loops and garage tracks, weird noises and ear-candy beats. Last year’s Vicious EP found Skepta flexing his transatlantic hip-hop cachet. Here the spotlight lights up the UK scene. The standout What Do You Mean features a smoother-than-ever hook from J Hus. A questionable reference to Ike Turner aside, Skepta retains his dry wit throughout: “Must have been talking about sex if I ever said I was gonna come second,” he smirks on the old-school You Wish. Skepta’s ‘Ignorance Is Bliss’ Is a Thrilling Crash Course in Grime. The rise of grime from pirate radio broadcasts to the lush carpets of Buckingham Palace and Mercury Prize recognition began in part as a reaction to the glossy symmetry of dance music in the late ’90s and early aughts. -
The Year's Best Music Marketing Campaigns
DECEMBER 11 2019 sandboxMUSIC MARKETING FOR THE DIGITAL ERA ISSUE 242 thE year’s best music marketing campaigns SANDBOX 2019 SURVEY thE year’s best music marketing campaigns e received a phenomenal Contents 15 ... THE CINEMATIC ORCHESTRA 28 ... KIDD KEO 41 ... MARK RONSON number of entries this year and 03 ... AFRO B 16 ... DJ SHADOW 29 ... KREPT & KONAN 42 ... RICK ROSS had to increase the shortlist W 17 ... BILLIE EILISH 30 ... LAUV 43 ... SAID THE WHALE 04 ... AMIR to 50 in order to capture the quality 05 ... BASTILLE 18 ... BRIAN ENO 31 ... LD ZEPPELIN 44 ... SKEPTA and breadth of 2019’s best music campaigns. 06 ... BEE GEES 19 ... FEEDER 32 ... SG LEWIS 45 ... SLIPKNOT We had entries from labels of all 07 ... BERET 20 ... DANI FERNANDEZ 33 ... LITTLE SIMZ 46 ... SAM SMITH sizes around the world and across 08 ... BIG K.R.I.T. 21 ... FLOATING POINTS 34 ... MABEL 47 ... SPICE GIRLS a vast array of genres. As always, 09 ... BON IVER 22 ... GIGGS 35 ... NSG 48 ... SUPERM campaigns are listed in alphabetical 10 ... BRIT AWARDS 2019 23 ... HOT CHIP 36 ... OASIS 49 ... THE 1975 order, but there are spot prizes 11 ... BROKEN SOCIAL SCENE 24 ... HOZIER 37 ... ANGEL OLSEN 50 ... TWO DOOR CINEMA CLUB throughout for the ones that we felt 12 ... LEWIS CAPALDI 25 ... ELTON JOHN 38 ... PEARL JAM 51 ... UBBI DUBBI did something extra special. Here are 13 ... CHARLI XCX 26 ... KANO 39 ... REGARD 52 ... SHARON VAN ETTEN 2019’s best in show. 14 ... CHASE & STATUS 27 ... KESHA 40 ... THE ROLLING STONES 2 | sandbox | ISSUE 242 | 11.12.19 SANDBOX 2019 SURVEY AFRO B MARATHON MUSIC GROUP specifically focusing on Sweden, Netherlands, Ghana, Nigeria, the US and France. -
“One Line Flows, Yeah I Got Some of Those”: Genre, Tradition, and the Reception of Rhythmic Regularity in Grime Flow
“ONE LINE FLOWS, YEAH I GOT SOME OF THOSE”: GENRE, TRADITION, AND THE RECEPTION OF RHYTHMIC REGULARITY IN GRIME FLOW Alexander Harvey Marsden A thesis submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfilment of the requirements for the degree of Master of Arts in the Department of Music Chapel Hill 2017 Approved by: Jocelyn R. Neal Allen Anderson Mark Katz © 2017 Alexander Harvey Marsden ALL RIGHTS RESERVED ii ABSTRACT Alexander Harvey Marsden: “One Line Flows, Yeah I Got Some of Those”: Genre, Tradition, and the Reception of Rhythmic Regularity in Grime Flow (Under the direction of Jocelyn Neal) In its musical style and performance practices, the British rap genre grime bears the traces of London’s electronic dance music scene, out of which it emerged in the early 2000s. One such trace is grime’s characteristic style of flow—the rhythmic dimensions of a rapper’s delivery of text—and the role that this plays in encouraging grime’s listeners to move. This thesis argues that grime flow exhibits a tendency towards rhythmic regularity, which differentiates it from flow styles that tend toward irregularity. Drawing from music cognition and music-theoretic work on the pleasures of repetition for listeners, particularly in electronic dance music, it asks what listeners find engaging about grime flow’s regularity. It argues, through an analysis of Skepta’s “That’s Not Me,” that grime flow encourages a participatory mode of listening from its audience, which in turn contributes to a broader orientation towards communality in the genre.